V.H.S. 2 (2013)

Hey, this is Simon Barrett. And I'm Adam Wingard. And we had a really good idea because all the directors are recording their commentary tracks separately in the comfort of their own homes because we all live in different countries. We had the brilliant idea that we were going to do our commentary track as drunk as we could possibly be. So we did that last night. And we got too drunk, and we did it like four different times. And you literally couldn't understand what we were saying. Yeah, we listened to it earlier today before we sent it to Magnet, and we were like, well, we should just make sure that this is acceptable. And we were just sitting here the entire time laughing our ass off because you can't understand anything we're saying. We're just mumbling a bunch of nonsense. Just a bunch of profanity, and it was basically not acceptable. It was not acceptable. Borderline offensive. So we're doing it again, somewhat hungover. Okay, so this is actress and comedian Mindy Robinson, who basically I reached out to and was like, so listen. He literally reached out right there. See, there it is. How do you feel about being, you know, naked in a movie? And then I reached out to her a few weeks later and was like, okay, so I couldn't find anyone to play that role, so it's just going to be me feeling up in the hotel room. And she was kind of like... Yeah, I've heard this one before. The first time I saw this was in the editing room, and I actually didn't know that your dick was on camera. I was here on this location, but I was upstairs flirting with the girls upstairs. I think Mindy was just really happy when she showed up on set and there was an actual crew there, as opposed to me and my iPhone. I mean, it didn't really help that during all the auditions you just had that American flag Speedo on. And just kept rubbing butter on my chest. But that set the tone. incorrectly, I think. That hotel, by the way, was one of the, like, truly one of the most disgusting hotels I've ever been in. It wasn't at a place where people go to die or something like that? It was a, it doubled as a hospice for, like, patients to, like, it just had such, it was so clearly evil, but it was, uh, it was actually the exteriors in Memento, um, so I was kind of like, oh man, if it's good enough for Christopher Nolan, it's good enough for me, and then I got there and I was like, you know, this place has probably had some hard times since Memento. Yeah, I mean, I would like to point out, actually, that there is some actual meaning behind the... And I don't want to go into detail because it'll just be lame, but the idea of Simon's penis after groping, like, obviously... implanted breasts back to back. You know, we're basically saying, hey, you saw the first film? Okay, great, we're moving on. You know, we did that with the first film. We're not apologizing for it, but we're also not exploiting anyone more than ourselves. So, by the way, I was a licensed crime investigator. I still am a licensed crime investigator in the state of California. That was my day job while Adam and I were making movies like the first VHS and A Horrible Way to Die because we were weren't making any money off those films. So I actually did, I wore a button cam on certain cases in New York and stuff. And so when it was suggested, I think by Roxanne, that the wraparound could be the eyes, I leapt for that right away. So even though when you see shots from the perspective of the button cam, what it is is generally my cinematographer, Taryn Anderson, who's like a tiny woman, like 5'3", is wearing this weird rig with a 5D strapped to her chest. Kelsey Abbott, the redhead in these scenes, is basically addressing her lines to Larry, looking at my cinematographer's forehead. This is where you can see Larry's not wearing any underwear. See that whole, oh, there we went. Larry is an indie film actor through and through. He was like, Simon, do you want me to have underwear? And I was like, I feel like your character would have underwear. He's like, well, I don't. And that was his choice. And Simon respected that. I was like, all right, Larry. You cast filmmakers like Larry and Kelsey in a movie because they can move the story forward with improvisational things like that. But yeah, so every time... Like improvisational things like having holes in their pants? Yeah, having holes in their pants. I mean, it was unexpected. I was like, wow, Larry brought something to this character that I was not anticipating. So yeah, so every time you see this button cam, it's a 5D, and we're having to redo the scene from multiple angles, because sometimes it's Larry in the scene acting with Kelsey, and sometimes it's me standing behind Tara and... directing her shoulders while Larry stands behind us reading his lines that Kelsey has something to respond to. So that was much more of a technical challenge than I think I'd anticipated when I wrote this script. So you can see those pictures are of Frank Stack, who's the old man from the first VHS and also has a brief but memorable role in A Horrible Way to Die. Do you want to give me shit about this blood spatter, Adam? You know, I was actually just considering it. I was like, well, I mentioned it last night in the drunken commentary that every four times we did it, I was like, do I sit here and ask Simon about why there's only one speck of blood on the wall when the guy, like, shoots himself in the face and his head literally explodes into the camera? It's supernatural blood. You know that I did actually... Wait, maybe we just don't see it. Maybe he actually, like... No, because you actually see him leave. Maybe actually when he goes off screen after he shoots himself, he's actually cleaning up the floor. Okay, two things. I did actually consider having Collins quickly wipe up the floor before running out of the room after he blows his jaw off. Yeah, but there would be so much gore all over the floor. Well, that shot, I mean, remember also that shot was like a five-minute shot that had a lot of choreographed elements to it, and we did it again and again and again. By the way, Collins' makeup was actually burning his skin. He had an allergic reaction to it. It was the first thing we filmed. He had these burn marks on his face, and he's such a trooper he's in your next by the way he plays the landmass killer in your next um and and he's worked with adam on a bunch of stuff he's in uh he has a major role in popsicle yeah and just so everybody knows we're talking about the guy who shoots himself here yeah i don't know if we made that the guy who we're about to see on the screen so here's so okay wait now explain this to me again now this Tape 49 is a prequel, correct? That's correct. But we saw footage from the first film, but this is still a prequel. So it's not really a prequel. It takes place in the middle of the first movie. Well, it takes place at the very beginning of the first movie. The idea is Tape 56 takes place over several months. So you see them attack the people in the parking garage, and you see them watching that, and then they go to the house. Whereas Tape 49 is just a couple nights. So it actually takes place after... So the idea is that the collectors are aware of the Tape 56 thugs. And that's why he'd have that video on his laptop, because they're already kind of tracking those guys as potential victims and sources of another supernatural tape that they could create for this kind of like weird syndicate of people that are collecting these analog format things of supernatural events. This is what I love about the VHS series is that I never have any idea what's going on during any of this. I don't even think I understood the mythology when we did the first one. Maybe that was part of my problem. The mythology is so convoluted that even I get confused trying to explain it. So anyway, the whole idea is they're trading analog format tapes of supernatural occurrences because the electromagnetic field of the tapes themselves affect the electromagnetic field of the body and they're kind of seeking to transform themselves and gain immortality but as you can see he gains it much more physical way than I think you expected. Man, I can write so much VHS fan fiction now from this commentary. By the way, that was not the clearest explanation of this, but maybe we'll get into it more, and no, we probably won't. You know what's funny is I helped them score that desk a little bit. We took a bunch of knives and stuff and were rubbing it, and like... We did a really good job everywhere where those books are covering up. Because I helped the art department do it. And then the only part that we half-assed it is the only part of the desk that you can see. That was a good firsthand experience for me to know what it's like to be in art department. It's like, oh, the only thing that we didn't fucking prepare for you is all your shooting. Thank you. And that was my scribbling in those notebooks because I couldn't get anyone else to do it. So yeah, oh yeah, so the idea was when he shoots himself in the jaw later, I don't know why we're talking about this now, it happens much later in the film, but we're talking about it now, so the idea was that all the blood would kind of fall down into his lap, and I wanted to kind of digitally realize that, but then we used like a frame dropping thing to make it look like a webcam, and we kind of lost it. All right. My turn. It's my movie now. Here we go. Booyah. Okay, so going into... I've just been waiting to talk about my short this whole time. Hey, Adam, why don't you talk about the creative inception of Phase 1 Clinical Trials? Well, Simon, I'm glad that you provoked me into that because I would like to say that going into this, I was really... I saw how on the first VHS everybody actually got to have fun making their VHS shorts because they weren't doing the wraparound. And so going into this one, you know, I definitely knew that I wanted to do my own VHS short and not have to deal with that. Yeah, I wrote this segment that you're watching here with Adam with the camera in his eye. And yeah, like one of the first conversations I remember we had about it was, you know, the goal with the first VHS, you know, we... We filmed the wraparound before anyone shot anything else and we just wanted it to feel very different from a lot of mainstream fan footage horror. We wanted it to look really dirty and authentic. and you were just like, okay, I want to do the opposite of that. I want to shoot it with, like, a red epic. Yeah, well, and I wanted to do, like, because the first one was really important to me that, you know, because I was responding to what I thought was wrong about a lot of found footage stuff is that the materials that they were using to film didn't feel authentic. It felt like they were always, like, everyone was always trying to be a little bit too slick, and it kind of took me out of it a little bit. So the first one, my answer to that was to be completely authentic and shoot on VHS tapes and all that stuff, and, you know, and that just, you know, it came out fine, but it was like a real pain in the ass. And I already did that in the first one. So with this one, I kind of wanted to do something that was, A, more of a sci-fi story. And I wanted to kind of invent my technology in itself and just do something that looked more like a movie and try to see how that worked. Yeah, I think we were talking on the phone and you were just like, he just wants to have one of those camera eyes. And I was like, oh, that's a thing? Yeah, somehow I had a dream about it maybe and I thought I read an article. I was positive that somebody had gotten a camera eyeball implant. I was sure that that was just something that had happened and told Simon about it. You know, and Simon went along with it. He was like, oh, okay, that sounds interesting. Yeah, it'll be like, maybe it picks up ghosts or something. I was like, yeah, it's something like that. Which plays into the kind of electromagnetic mythology of the franchise as a whole. But then, yeah, then I Googled it and realized that, like, that was, that concept isn't quite there yet. So maybe I had a prophetic dream. Well, yeah, now, the funny thing is now we're talking in June 2013 and people are actually starting to get retinal implants and stuff. We were just thinking that. But you know, the shitty thing about that is now everybody's gonna know what a retinal implant looks like and they're gonna look at my footage and be like, that just looks like he's got a fucking red epic attached to him. Oh, yes. I'm a fucking asshole. So to film this stuff, Adam is wearing this giant rig similar to what... Actually, it's the same rig that my cinematographer is wearing for the wraparound, but he has a giant red epic on his shoulder. It was a pain in the ass because it's literally sitting on my shoulder, sort of, and it's tied to my body very tightly, and I have to have my head kind of crooked to the side a little bit so that it's as centered as possible. And there's a monitor that's kind of swung out in front of me so that I can see what I'm shooting, but it was really uncomfortable. Well, that camera weighs like 25 pounds. That's my brother's video game. It's called Rhythm Destruction. The character, we wanted to imply that... that he was a video game designer and so we wanted him to just play in a video game here and fortunately my brother is a video game designer at EA Games so we just use his real game and by the way like all this is actually like it doesn't look like it but this this film has been decorated it looks just like a messy house all this stuff is put here and I told the production designer Tom I was like I brought him over to my apartment and I said like know let's make it look like what my apartment looks like which is just like a lot of like pot canisters everywhere and like incense like you know dust you know on the counters and empty pizza boxes it's like i live like a slob basically well we knew we wanted to be in a place that looked cool just because that gives you you know like stuff to be entertained by and uh our producer chris harding had like a birthday party and rented this house for the party and and we came to it. Yeah, I mean, it was literally like two days after Simon had delivered the script, and Tom, the production designer, and myself had read it, and we were actually going to just be planning on talking about it while we were at this party, and as soon as we walked into the place, Tom was like, Why don't we just set it here? And I was like, that's a good point. I mean, even though the script was kind of written as more of a classic kind of older haunted house, when we saw this really cool mansion, basically, that we're in, we were like, this could actually just be more interesting because it's not what you expect in a haunted story situation. And then we were like, wait, how much is this place costing you a night? Like, whoa. Yeah, we got a deal on it. Real quick, let me talk about this effect. The way we did this is there's a hollowed out mattress right there. And there's a dummy that's underneath the sheets right there. And then as soon as I pull it back, I'm actually counting to five. And there's a guy underneath the bed and he pulls the dummy down. And so there's somebody else on the other side of the bed and they're pulling the sheets tight. And it's all just like timing. So literally there was something there. And I think that's why it looks a lot better because... you can actually see that there's something physically going on. We did end up actually cleaning up that effect a little bit because even though they dropped the thing perfectly, you could still see some weird wrinkles in the sheets that indicated that there was something weird going on. So we smoothed that out digitally in post, but that's mainly a physical effect there. And whenever you see Adam in the mirror, we're filming the scene with Adam with the rig, and then we're filming the scene from the perspective of the mirror and digitally composite visiting that footage into the mirror in the shot that Adam filmed wearing the rig. It was pretty complicated. But fortunately there were movies like Enter the Void that were a good reference point where you could look at, and I guess now there's Maniac, which I don't think I'd seen at this point. I still haven't seen it. It's good. But there was at least some reference points of what to do and what not to do in terms of this kind of stuff. Even when it comes to blinking, I thought... Well, in real life, you don't really see your eyeball go up and down, or your eyelids at all. It really is just like a black frame. And I actually went back and watched Enter the Void and realized it looked like that's exactly what he was doing in that film as well. So that actually was like one of those things that kind of helped out. This little girl ghost, by the way, Corey Fitzpatrick, this 12-year-old actress, was also in the first VHS. She plays one of the alien girls in the segment that we did with Joe. So actually, she and I are the only actors that are repeating from the first VHS, actually. Well, I guess I am, too. When are you in the first one? I'm in the parking garage. Oh, that's right. You're the guy who gets attacked. So we're the only returning people. But yeah, she was an alien in the sick thing that happened to Emily when she She was younger and she was just such a trooper. I mean, she did not care about like the makeup or any of that stuff. And so we were just like, oh, let's just bring her back for VHS too. That door actually did just break too whenever I was shutting it. Like that was me actually reacting to it and just throwing that little piece away. And then we just ended up keeping it in because it was kind of funny. But actually like every time you see me lock that door, I'm actually just pretending to because that door doesn't actually work that way. There was no actual real lock on it or anything. This digital watch is a watch that I actually obtained as a product sample in a actual private investigation. This role was originally written for... Adam wanted to work with the Angry Video Game Nerd, James Rolfe. But he was busy doing his Angry Video Game Nerd movie and then Adam was like, you know, I'm gonna have to... Well, yeah, and I was like, you know, like, I'm gonna... If I'm gonna cast an actor in this role, he's gonna be off-screen anyways the whole time and I don't wanna let an actor do the camera work because it's just gonna take forever because they're just not gonna understand, you know, what I want and everything. And so basically it would just be an actor standing over my shoulder anyways. And so whenever we were having trouble kind of locking his schedule down, it made just a lot of sense to me to just be able to just do it myself so that I could maximize my time instead of trying to make something like that work. And plus, honestly, I really liked Angry Video Game Nerds so much that In a way, I would've also felt like it was a waste to just have him off screen. I would've wanted to see him, because I think he's a really funny guy. So one of these days, we'll get him in one of these films. So we're speaking to you now. The movie's been out on VOD for a week, so we've actually been able to see some people's reactions to it. And I do get a kick out of everyone wondering if this is where you actually live. Maybe I should just pretend like it is. This was kind of cool. There's like a PVC pipe that we stuck the camera in to get this kind of effect, and it's obviously like a... Yeah, the camera's actually locked down. We added a little bit of a post shake to it just so that it seemed a little bit more natural. But yeah, literally like it's just two shots put together, one me going towards the eye hole, and then we just threw in this PVC pipe that represents the... That was like Tom's thing. Anyways, but this actress is Hannah Hughes and I've known her for a long time. She was in one of my first films, Pop Skull, back when she was still only 16 when we did that. So I've known her. through her entire life, basically. And she's great. We've been actually looking for kind of a role to put her in for a while just because she kind of has a really great quality. Yeah, and it was kind of funny because I did a whole bunch of shorts with her and stuff. But then when Simon and I started working together and we started doing features again, starting with the whole Boy to Die, all of our characters were just a lot older in these films, and so there just wasn't a part for Hannah. But whenever it came to this, It was just perfect. Like Simon had written this part and I was like, well, why don't we get Hannah to do it? And so we just flew her down. She's an Apple employee. She makes more money than we do. Oh yeah, way more. So she doesn't care. It's embarrassing. She doesn't mind just coming down and doing a pointless role in our movies for no money. I do want to point out, yes, it is intentional that her name's Clarissa and she explains it all. And Adam's character's name is actually Herman and the movie's entirely in his head. both of those being two 1991 to 1994 sitcoms, which I guess made quite an impression on me. Yeah, I mean, I used to always really fantasize about The Closer Explains It All show. I just want to mention that again. What was it, Joan Hart? I know that we talked about this a lot when we were drunk last night. I don't remember exactly what we went on about. We might leak the drunk commentary to the internet so you have the option of listening to it. But if anybody, does anybody remember that show? Because like, she just had a open window with I guess a ladder or something next to it or maybe like a tree. But like, that guy could just like, he just had access to her room all the time. That's like my dream. A girl that's just like, come on by. You can just like climb in through my window, but don't tell my parents. I really want that reality. I want that now. I was just jealous that she had a pet alligator. I want Clarissa. I want her. Not Hannah, but I want Clarissa. But not Melissa Joan Hart. Not her. She's too old now. I want... I want the real Clarissa, and I want her to explain everything to me. So you don't have to worry. This scene was originally, there was a, I wrote a big expository chunk of dialogue here, part of which kind of played into the overall VHS mythology with her talking about how ghosts are just really electromagnetic impressions of people at their most extreme emotions left on their environment, kind of referencing the stone tape a bit. And we basically cut it out. Yeah, it was just too boring. So we just kind of were like, all right, screw it. Let's just get through this so that people can enjoy the other actually good segments in the film instead of sitting through our bullshit again. Hopefully I didn't put you to sleep just by saying that. This is John Karius, a friend of mine from college, playing Clarissa's uncle here. He did actually sound on some of the first films I directed. By the way, I don't know. He's a trooper. Yeah. That's vomit on his chest, too, by the way. It's kind of hard to tell, but it's supposed to imply sort of about how he kind of died in this weird state. I would think that maybe he was drugged by Hannah's character. Yeah. You know, like, while he was trying to rape her or something, you know. Yeah, clearly we're hinting at, like, some kind of backstory there. But, yeah, I mean, he sat around in his underwear, actually kind of, we were kind of like, can anyone get John a robe? And they're like, no, it will affect his makeup. And we're like, okay maybe he shouldn't be sitting in the room with the young girl it was really weird ah fuck it whatever we're busy we don't have time to think about this kind of stuff real quick before I forget that was Love Lock um that song it's called Love Reaction and uh The guy who does that band, it's a side project of his. His name's Steve Moore, and he's a great composer. He's actually going to be doing our next film we're doing. Yeah, The Guest, which we start shooting in a month. Yeah, I don't know if people pick up on it, but she is supposed to have recently tried to kill herself, which is what's going on with that bandage and the blood on there. You can't really see it that well. I keep going past it really fast, but Tom, the production designer, is really proud of the photograph to the left. in my head which is like two like kind of sexy like women but they have like cat faces or something wrestling each other you can see it at some point in the film i don't remember what part but you know So, I mean, yeah, we kind of, you know, we only got really... We all had, like, a weird window after we did You're Next, and Gareth was prepping The Raid 2 to kind of make this film, but then our production schedule kind of ended up getting accelerated, so we kind of rushed into this, but it all worked out really... I've actually had actual real supernatural experiences before, and they vary in terms of the way that you react to them, but I feel like the way that I'm reacting to all this stuff, especially when I'm like, God damn it, you know, is accurate to how you are whenever you have some sort of unwanted event happening just out of nowhere like this. I've never had anything this extreme. But, you know, recently I went down to the Cecil Hotel, and it's a long story, but me and this actor, Chase Williamson, who stars in John Dies at the End, went there and we actually got... chased out of the hotel by some weird supernatural thing. But we'll just have to talk about that later. It's on another movie. What are we supposed to be talking about on this kind of thing? Is anyone listening? So right here we just switched to GoPro so that no one is listening to this, by the way. No, no, no, no one. We are literally talking to ourselves. But we switched over to GoPro so we could do this underwater stuff. You can kind of tell if you really look, which is why we tried to glitch it up and, you know, make it look nasty. Yeah, this is my GoPro, and when I first gave it to you guys, I put the wrong case on it. I put the non-waterproof case on it, and fortunately Seamus... DP noticed that the last second. I was like, Simon, is this right? And I was like, oh my god, no. Give me that, because I needed the GoPro for my segment. We really should have got sponsorship from GoPro, because they're in literally every single segment. Every single segment, yeah. And by the way, their cameras are really good. And here's the cut point. I hear the GoPro 3 is great. Oh, I wanted to say, when Hannah gets yanked away from you in the pool, we actually were pulling her back on cables. She was wearing a harness, and we just kind of digitally erased the cables. So she really got yanked. across that pool a few times and she really enjoyed it. And that was us throwing a sandbag in the pool right there. We just erased it. You can see like one frame of it. but, you know, whatever. That father ghost is Brian Udovich, producer of All the Boys Love Mandy Lane and The Wackness and a bunch of other films. Oh, yeah, and I should real quick mention also that I had Owen, the sound designer, who worked on both VHS films, to steal a bunch of sound effects from Radio Silence, just short for this section right here as an homage, and to kind of just subtly tie in the two movies together. So those are literally... What is Radio Science's section called? I can never remember. 10-31-98. How do you remember that? A bunch of numbers. Radio Science's numbers section. Oh, this is our Unshion and DeLue reference. Yeah, which, by the way, like, oh, you can see the cat people right there fighting. Sexy fighting. Sundance, somebody actually asked us if, how do you say that movie's name? I don't really know. Unshion and DeLue? Yeah. Somebody asked us if we were referencing that, and we were just kind of like, I think, drunk maybe. Just And not expecting an actual interesting question like that. And so when somebody asked Simon that, which is giving Simon the perfect opening to have a really great pretentious answer. Instead, he was like, I don't know. He's like, I think I just saw razors next to my sink. And that was my process. I was like, hey, look, here's some razors. I'll put a razor in the film. And then I sat there on stage during this Q&A, was thinking about it. And I was like, you know, actually, Simon, you did talk about that short now that I think about it. And I was like, that was a reference point for you. And he was like, oh, yeah, yeah, forget everything I just said. When the camera goes into Adam's mouth here, it's actually the real button camera that we bought for the wraparound attached to the end of a pencil. And Adam is with a little light. I'm deep-throating it. And Adam is shoving it in the back of his throat. Yeah, just shove it in. So, yeah, no digital trickery there. I just want to apologize real quick. The other filmmakers haven't even had a chance to talk. I know that Greg and Eduardo are sitting there right now waiting for their fucking commentary to come on, which is probably a lot better than most. They're going to be so funny and great. Everyone loves their segments so much. Exactly. I'm so sorry that you all have to sit through this first. But it's almost over. This was really designed to give you an opportunity to get up and go to the restroom. um so yeah so the wrap around yeah reach around this whole movie really kind of came about because after doing the first phs and kind of seeing how people responded to it we were like you know we feel like we learned a lot from that and we want to kind of do it again um and you know and just greg uh greg and eduardo and jason and and gareth and timo you know we'd all just become friendly through like the film festival circuit and you know it came together really quickly to the point where if you're watching this At home, you're probably aware that it came out. Actually, this is less than a year from when we shot this stuff. It was in June or July last year. It was in July, I think. And it's less than a year since the first film came out. So it is the sequel that nobody even had the opportunity to want. Had they even wanted it, which they probably did not, we didn't give them a chance. Take that, America slash world. You're welcome. More tapes. Here's the VHS2 sequel. Here we go, thank God. You can be entertained now. Hey everybody, this is Greg Hale. And this is Ed Sanchez. This is the commentary. For A Ride in the Park, our segment in VHS2. This is Jay Saunders. He's our main zombie who put this man through hell. He was quite the sport. A very unrewarding role. Yes. And this is Devin calling him. His real life girlfriend or wife? No, I think it's a girlfriend. Sorry, Jay, if she's been giving you shit about getting married. Yeah, I think she has. So what we really wanted to do here was just give you a little bit of taste of this guy's life so that you think of him as a person before he turns into a zombie zombie which is kind of the point of this whole movie this movie is that you know all zombies are people used to be people used to be people all zombies are somebody's son exactly a daughter so what's the name of this part oh this so this song is called zombies ate my neighbors my school boy school boy which we thought was rather appropriate i love love the track Yeah, we tried a couple different ones, and it didn't really work as well as this one. Yeah, and it doesn't really, I forget the stunt rider's name. So, oh, there's Bette. So, yeah, that was obviously a stunt rider. Yeah, a stunt rider. Up to this point, and then... It didn't translate as hardcore as that trail was. That thing was pretty badass. On the big screen, it's pretty good. Yeah. Yeah, and a little you can't really see of him. That's a big hose strapped to the side of Bette's face. You've got a little mouthpiece in there for the vomit to come out. Who's there? I love the way Jay delivers his line. Yeah. I got a big fucking stick! And we ADR'd a lot of this, so it was pretty good. With the zombies, so here's the first time we're really seeing the zombies. And there it is. So this is good to have two angles to choose from. Yeah. So you'll see there's real bet. And then Jay grabs a rock and bam, bam. And we just did one little insert of a fake head that he's really slamming into. So everything's as a fake head. But with the zombies, we really went with the standard... We went with a very standard zombie. We didn't want... Yeah, this wasn't about reinventing the whole zombie thing. It was just about looking at it from a different point of view. Right. So we kind of went with very much like the zombies you've seen in a thousand other movies. Intestines dragging. And then this is actually our DP, Steve, with a hose squirting blood. And it was just a mess. It would squirt on his hands, on the camera. And actually Jason from Aftermath is basically there like next to him squirting. Yeah, a lot of people following the camera around. Yeah, I had to hide him during the edit. This always kind of bugged me that you could see the wet spot from the previous vomit. Come on. I'll tell you what bothers me about the end of this shot. You can see the direction of the hose moving toward the left. Right at the end. About the end of the vomit coming out? Yeah. It moves toward the left, and I hate that. So that's a cut. We just cut on the motion of him going down the hill. So that's cutting from Jay starting to roll. Well, actually, it wasn't even Jay. It's Steve. The whole time? Steve did all that, yeah. Steve the DP. Okay. Now this is Jay here. Yeah, we cut those stunt guys. But then we had a stunt guy going down the hill. Yeah, and then this is Jay here. And again, like, you know, directorially, it always kind of bugs me that we could never, you know, you're shooting this whole thing in four days, so we never really had time to, you know, reset stuff the way we wanted. So the grass is all stomped on. That's just like, you can't do anything with the grass. It's just... And then here, to elevate the camera, we actually strapped a box to the side of Jay's head. You've got to keep it a foot off the ground. Jay has a cardboard box taped to his head. Yeah, it's pretty ridiculous. I mean, very unrewarding job, man, for very little screen time, at least with his face, you know? Yeah, and so the stunt riding Jay didn't do, the roll down the hill he didn't do, and then there's a stunt coming up that he... But everything else he did. There comes Dave and Wendy. Who we hired because they both have really great comedic timing. And they're really good at being realistic but also kind of bringing some good comic beats to it. Which is what we work together on. I worked with Wendy before on Para Abnormal, this web series that we did. And she was actually pregnant here. Is she really? She was, yes. She's doing all that zombie shit with pregnant? I didn't know she was pregnant either, yeah. Wendy. I mean, I'm pretty sure she was.

And then here we kind of timed the whole, Jay obviously, he had his eyes open, so he kind of, we told him, like, just move your thumb right there. Yeah. When he turns away and stuff, just start to kind of reanimate. And I really loved, like, when we saw that at Sundance, like, the audience reaction to the people who noticed that his hand is moving. Yeah, because they know something's wrong. Because everybody, I mean, you know something's coming anyway. Yeah. But just, like, that little tell is fun. Yeah.

There comes the setup for Ed and I's only altercation on set. Where he bites Dave's... So again, we transition a lot by pushing the camera into things so that when we push into Dave's hair, that's when we transition to Dave with the makeup on the side of his face. That was the only time Ed and I really disagreed majorly on set. We couldn't get the... blood to squirt out of Dave's cheek, and I was just like, fuck, cut the damn cord, and let's move on, and Ed wanted to try to make it work. Well, yeah, because, you know, the Jason had worked so, yeah, had worked a long time on it, I wanted to at least give it a shot. Yeah, so again, same thing, like during the shake, we just cut to the, we just cut across it and put the appliance on Jay's arm. And Aftermath was the name of the company that did all the effects. Jason and Kaylee, yeah. Yeah, they did a really great job out of Baltimore. So this is, what's the name of this park? It's the Frederick Aqueduct. Aquifer or something. Aquifer, I don't know. But yeah, it's in Frederick County where I live. So now obviously Jay, biker dude, has turned into a zombie. How about those sound effects? Yeah, that's good. But this is like, you know, the whole thing was like, there's a zombie. This is a fake hand. We didn't really chop Dave's fingers off. This is the whole thing. Like, the deal here is like, you know, does a zombie have to learn how to be a zombie? Like, do you automatically know that you can't eat yourself? Do you know what you can and cannot eat? So we kind of played around with, like, you know, the funny idea of, trying different things, and then obviously he figures out this is the steak tartare of the zombie world. Somebody asked us the other day, one of the interviews asked us if these were real guts. So Aftermath can be proud, but no, just fake rubber. It's hard to get real guts. I guess you could get like cow guts and stuff. That'd be nasty. That'd be kind of nasty. See, so here's when they bring in the comedic beats. And this is actually also Steve, the BP, with just kind of that camera. Right, right. Yeah, it was, I mean, the vast majority of the time it's Jay with the camera really on the helmet. But then sometimes just where the framing was important or the timing. Sometimes it was just easier to let Steve either just operate the camera by holding a helmet or sometimes he kind of moved Jay's head around. Yeah, Jay's head like a tripod. There's Bianca Sanchez making her big screen debut. My daughter. Who did a great job, as you'll soon see.

that's you right is that you making the voice of the dad yeah yeah yeah and then there's yeah and that's kevin who um kevin hunt i think who was actually an extra and then we kind of upgraded him to a to zombie death oh and that's up actually that's the uh That's the bat that Molly used to hit Tim. Second film we used that bat in. We used it again. It's like a rubber bat. So that other zombie, the female zombie, is Roxanne Benjamin, who's one of the producers of the overall anthology. Um, so she came out on set and we were like, hey, you know, we could make you a zombie. And she was like, hell yeah. There she is again. And this is Michael, uh, who I worked with on, uh, Para Abnormal also. Very funny guy. So this is like this, the moment of realization, you know, when he's like, uh, uh, Yeah, he sees himself for the first time. He realizes what he is to a certain degree. It's starting to sink in a little bit. And now Jay did that one. And then these are all stunt guys with rope pulls. So basically, they have a rope clipped to their back, and there's a stuntman hiding down the hill. And then here's the hole in the chest effect that is very subtle, but I like the way it turned out. And we added, obviously, muzzle flash and a little bit of blood, but mostly not, just very little digital stuff. I love this. This is the best sound that Studio Unknown did, Kevin Hill and Matt Davies, right here when he picks up the bear. And it makes that noise. It's like a little genius moment, right? And here's something that came out a lot better than I thought it would come out. And what was so funny about that effect, we went through all these different ideas of how we were going to do it with the truck running over. And the front part is a stunt, which is pretty hardcore. But then the running over, literally, we just took a long branch and duct taped the helmet to the branch so we could kind of move it under the truck. And then here's the pivotal moment. Girlfriend calls him back and really kind of sinks in that, he has turned into something that ultimately, if he sees his girlfriend again, he's going to eat her. So it's not good. And then here's where the music comes in. This is kind of controversial because, you know, very, very controversial, very controversial. During the edit, I put this temp track in and I think, you know, the scene needed it. And then we, you know, everybody was cool with it. And they said, yeah, of course you can do a little music. And then James Gammon, who's a composer that we know, a very talented composer, did this little thing for us very quickly. And then, yeah, and we've got no comments on it. It was like all this debate as to whether or not we did it or not. Yeah, I mean, I think, you know, in these movies, I think it's just kind of like, you know, it's entertainment, the entertainment value. I don't know if Trump's anything. So I hope you enjoyed it. Yep, it was a lot of fun to make. See you later. Yeah. See you later. We're back. Oh, boy. That sure was exciting about that zombie. Ed and Greg were so funny, I would imagine. Or informative. I bet they were both funny and informative, and you really loved their commentary. And now here you are again with us. It's us. Sorry. You know what? Here's the wraparound. This is your chance, as Simon said earlier, to use the bathroom. Maybe go get a drink. Make yourself a drink. Check Twitter. See what's up. Maybe I tweeted something funny. Maybe tweet about how much you hated our other segments. Maybe tweet it at us so you were sure to see it. Yeah. so anyway so yeah so I mean every time you see Kelsey here he's wearing this weird rig and you know and then we have to do so it's funny because I wanted to kind of encourage improv because I feel like spontaneous performances work really well in found footage it gives it like kind of a cool authenticity and then I realized that every single time I was going to use something I'd have to capture it from other camera angles precisely so to edit together and therefore no one was able to improvise anything and I probably seemed like a screenwriter directing, because I made everyone do their lines. They ended up doing their lines pretty much verbatim. I thought you were a Kevin Smith kind of guy. David Mamet. What are we supposed to be talking about? I don't know. When we were drunk, we didn't have this much problem, but that's because it took us so long to say everything. Yeah, but that's because we were probably just talking about what we had for dinner or something. Yeah, it just took me so long to even get the syllables together. Well, the pain is over soon here. This house that we filmed in, actually, we filmed at Airbnb, and this guy, like, wanted to rent this out to people, and we were the first people to ever rent the house. Wait, didn't we already say that? No, that was in the drunk commentary. I can't keep up with that shit. Anyway, the house was kind of actually horrible, and we were like, he was like, yeah, you're the first people to ever stay, and we were like, yeah, really? Okay, my name is Timo Chajanto. And I'm Gareth Evans, and we co-wrote and co-directed Safe Haven for VHS2. Okay, Gareth. Let's talk about the experience of making this film, yeah? Yeah, but with a bit more energy. Yeah, it's in the morning here, so we've got to... Yeah, 8.30 a.m. is not a good time to record a commentary, but... Okay, so let's start off. Basically, the way this kind of project came to us was we'd both been offered to do a segment for VHS2 separately, and when I got offered it, I wasn't sure if I really wanted to do it or not because I wasn't comfortable with horror, and so... When I spoke to Timo, I found out that he'd been offered it too, that we both kind of saw it as an ideal opportunity, I guess, for us to collaborate on something and to kind of be able to try my hand at horror and for us to kind of see what it's like to actually work together. Yes, we kind of look at each other's cheat sheet, so to speak, right? Yeah, I mean, we've known each other for years and stuff since I moved to Indonesia. Since you were a loner, man. Since I was a loner, yeah. Friendless guy. Friendless white dude in Indonesia. Yeah. And then I have to put up with this racism one more time from Timmy. And basically, we've kind of known each other for a long time. We've watched the same movies. We kind of hang out and go to the cinema together and stuff. And it's just been one of those things where we kind of understand each other's approach to what we want to do visually in terms of both action and horror. And so it kind of gave us, this was a perfect opportunity really for us to kind of experiment in it and just see what we could come up with. So let's talk about what's going on on the screen, dude, instead of giving our biography. One thing we've kind of neglected is the fact that we cut a shitload of stuff from the beginning of the show. There's actually a lot of character development kind of stuff here, especially regarding the father and the love triangle that happens between these three characters. I think our first edit came in around about 40 to 45 minutes, and then we had to trim it down to 30 for the inclusion in the film. and about 15 of that was pretty much a lot of sort of build up of character and build up of the relationships and then the sort of like seeing the film crew hang out a little bit establishing Lena being pregnant and then I think I can't remember it was pretty late in the day actually we were in the last sort of like two or three days with the edit we kind of realized that we could sort of trim out a lot of that fat and just like have the pregnancy reveal itself later on in the film. We didn't need to kind of show it straight away. Even from this scene here, we already sort of see hints of, you know, like, there's something going on between Adam, the cameraman, and Lena. You see the little subtle kind of, like, looks there, glimpses, and how the father sort of noticed all this shit. But I think that one of the things that we were kind of playing on is that idea as well. With father's look there, actually, when he looks across at her, like the camera guy thinks he's looking at the two of them holding hands. But what we wanted to suggest as well is the idea that he's looking at Lena's stomach and that he senses that she's pregnant. And so it's kind of all part of like a grand scheme of things, which kicks in a lot later on. So a lot of people were asking, like, is it that she actually bared a child of, of the fucking demon? Or is she just any chick that he's using as a vessel? What's the theory behind it, man? You wrote it. No, I think it's more... I don't think it's her destiny to father this goat demon. I think that's a process of her being inside that compound. I think once she steps foot in there, she becomes their property. And then she becomes their vessel then. It just happens she's the one that works, right? There's a certain amount of girls that probably was kind of being experimented on by the father. Well, we show one of them later on in the film, actually. We had that scene later on. We'll kind of talk about it later on as well. But we actually show that this is, she's like, you know, the only success out of many failed attempts at trying to birth Satan and stuff. Exactly. So now he has the feeling that this chick will be the one that kind of able to deliver this fucking doomsday thing, yeah. Yeah. Okay, so let's talk about our cast, man. It's fucking Oka Antara and, uh, what's her name? Hannah. Hannah Rashid. Fahri Alba. Fahri Alba as Adam. Andrew Suleiman. Andrew Suleiman as Johnny, our lovely sound guy. And then we have, uh, the wonderful Epi Kusnandar as the father. Yeah. Bad shit Epi, we call him. Epi, actually, a bit of background about him, he was actually more a comedian on TV shows in Indonesia. A very harmless comedian. Yeah, known for doing comedy mostly in Indonesia. And then Timo decided to cast him as a pedophile jerking off in his ABC's of Death short. And so suddenly then we saw him in a new and different light. We decided to figure out different ways that we could cast him. Did you know that he survived fucking brain tumor? Yes, I do know he survived a brain tumor. That fucking drives you everywhere. Yeah. He's an incredible guy, super passionate about acting and about the theater as well. And he just brought so much energy to this film. It's a standout performance, really. It's amazing. So... Basically, what we were trying to do here with this was set up the idea of giving the audience an opportunity to sort of do a tour of the cult and tour of the building. There's Timo's phone there. He's like this on set all the time. So we wanted to give the audience a chance to see the entire compound all in one go and to see it like... clearly with a lot of clarity and stuff in terms of the geography of the landscape of it. While still giving a sort of labyrinth feel about it. Yeah, and I guess a large part of that sort of maze-like aspect to it is the fact that it's actually made up of about three or four different locations that we just had to find ways to cut together and find ways to kind of get this seamless transition from one corridor to the next. It helped us a great deal that we were able to use multiple cameras and that was something actually that kind of played an important part in our decision of how to shoot this. Being able to cut between button cams and production cams and CCTV might seem like a bit of a cheat when it comes to looking at it as a found footage aspect but for us I think we always treated it more as POV horror rather than traditional found footage. And we kind of also want to avoid the shaky cam aspect of Even from the beginning, we want to establish that, okay, this has to be something that is clear in terms of the language of the camera and also how it reacts with the shot that we are showing. That's why it's the benefit of having our characters as documentary filmmakers. I guess it's that we give more sort of clarity in terms of what happens on the screen. I think also one of the other things that helped us was the fact that everyone now that tries to make a found footage film or anything where it's POV basis, like the biggest gripe the audiences have is like, why are you still filming? Why wouldn't you just throw your camera away and then be done? Especially in these extreme circumstances they find themselves in. And so our plan all along was the idea, if we stick spy cams on their body, then we know for sure then that the camera will never be away from them. And in a way, I mean, as characters, they forget that they're actually rolling on these cameras anyway themselves. So it's like there's no issue there at play then. It's just falling from their eyes almost. Must be a very fucking high-tech camera, right? Because the sound is recording as well. let's give a little bit of props to D.O.P. while we're at it. Gary, Gary Javier, man. He came in and pretty much almost exclusively handled almost all of the POV stuff himself. All the hardcore stuff with running around and clashing into zombies and running down corridors. All of that was Gary doing that himself. So that's why you see the same hands all over again. Like Fahri there, his hands are hairy. And you still see a smooth fucking baby hands even when he's supposed to play Adam. And when you play Malik, this guy, Oka, who's supposed to be a more tanned dude, it's still the same white, pale hand, right? Unless... There's one scene where Gareth sort of takes control of the camera and you'll definitely notice it now that we're talking about it. So yeah, let's talk about this scene a bit. Okay, Gareth? Okay, let's talk about... Epi, actually, playing the father. This is the part where we gave him a bunch of speech which is mostly comprised of nonsense. I mean, as the writer, we have the right to say that what we write is mostly nonsense. Because that's the whole point, right? He's playing a cult leader. Oh, you mean his sermon. His sermon, yeah. I thought you just meant like it was fucking pointless dibble-dabble bother and shit like that. Well, in the grander scheme, it is, dude. So I was just going to say that. So this is just fucking awful writing is what you're saying. Right, right. Okay, well, we'll get it. Timo Chajanto takes story credit, but when it comes to the dialogue, yeah, shit on the white guy. No, no, no. I mean, like, I'm saying that he's a fucking master of improvisation, man. Yeah, he is good. The thing is, like, obviously, we fucking wrote a lot of shit, and Epi couldn't even, couldn't remember most of it. Yeah, yeah. And in all fairness, like, we didn't give him time to sort of... practices lines well it was a crazy shoot though and we were we were up against him this was a very very low budget film i mean we were doing this uh... a lot of stuff here on a small budget in about eight days and we had eight days of shooting for the entire thing and we were just supposed to be seven days supposed to be seven yeah but we we were running around just grabbing shots all over the place uh... but yeah epi was great i mean He brings so much to the role that probably wasn't there on the page. And what I love most about him is the little things he does outside of the dialogue. Like later on when we see him turn into the aggressor and stuff, I love those little moments. Like the fact that he just hummed that tune that he came up with. And that was completely his own thing. Actually, let's talk a bit about the background of the story. I... A lot of people were asking, like, what's the backdrop of this story? And is this some sort of Southeast Asian exotic thing? But funnily enough, we actually based this story more on the American cult, the Christian-based American cult, like Jim Jones and David Koresh and all that stuff. So there's a little bit of that fusion element into it. Actually, in pre-production, you played me the audiophile. This is the Jonestown Massacre, right? Yeah, the Jonestown Massacre tape, actually. Fucking Gareth disappeared, man. That was the fucking freakiest thing I've ever heard. It was the creepiest thing I've ever heard. For me, I've always kind of had this feeling that I don't scare easily when it comes to the idea of ghosts or demons or... or you know uh... bogeyman and things that the thing that scares me the most is that genuine sort of like insanity and people who are actually fucking batshit crazy and and just to kind of hear that kind of level of enthusiasm for what they were about to do and not only to themselves but to their children as well that was the freakiest thing i've ever heard that like scared me to my fucking core and so then you know uh... then like timo starts coming up with this idea like i got this story which is kind of what if a documentary crew were there at that time when the shitstorm sort of happened and you know it was it was intriguing enough for us to kind of pursue it as what our story would be then for our segment vhs too but gareth think like oh it's too bleak we got to make it more fluffy so that's why we put the fucking goat demon into it and you know it becomes a rather feel good film i think what it was is more along the lines of then we got like 20 minutes or 30 minutes or something to kind of make an impact And instead of being the ones to take it in a dark, serious, disturbing way, we wanted to achieve something like that, but at the same time treat it with enough tongue-in-cheek humor. Tongue-in-cheek and over-the-topness. Yeah, and go so over-the-top and so extreme that you can't help but just feel like it's more like a rollercoaster ride as opposed to something that's going to shake you up and disturb you. Okay, so let's talk about our cast, like our main cast actually, our journalists. So this is Hanna and obviously she's talking to Fahri. When we approached Fahri, Hanna, Oka and Andrew, playing the four journalists, we told them like, guys, this is going to be something that is very low budget and most likely you guys won't get paid. But through some miracle, of course, we managed to convince them that this is going to be something fun. and it's a project where you guys are going to be handling the camera a lot, even though it turns out that they are not handling the camera. Not as much. Oka mostly, I think. Oka had a lot of moments where he got to handle the camera. Yeah, actually, like, the one scene later on, like, he's actually handling a lot of the camera. Yeah, but it was mostly Gary handling that. But, yeah, the cast, like, we were... I think we were all... Me and Timo were both sort of fans of each of them individually and separate things they'd done previously. And we were kind of looking for a way to work with them on something. And so like again, like the same way we were looking for an opportunity to kind of collaborate in something ourselves, this was an opportunity for us then to kind of work with actors that like we hadn't worked with before that we wanted to kind of have an opportunity to kind of experience a project with them. Enslave them into a base world of hell, I guess. So this is one of the scenes where Gareth is actually the operator. As you will notice by his big-ass Caucasian hand. So at this point of the shooting, we're actually running out of time, yeah, Gareth? Yeah, this is one of those rare occasions. It didn't happen often on this shoot, but this is one of those rare occasions where both of us kind of know each other's shooting styles and know each other's... abilities behind the camera, we were able to kind of trust each other with two separate scenes. So actually, perfectly, this is actually the moment that Timo was directing this scene by himself, the whole Epi and Johnny confrontation, and then downstairs, and I was shooting stuff with the con, and I jumped into this scene. You were so fucking fast that... I just did the one scene while you did this whole two fucking scenes. That's how good Gareth Evans is. This is actually Gareth here. Yeah, this is my hand here. You can see my hands. It's slightly chubbier. A bit more like a beef burger with fingers and shit. But the sleeve sells it. So at least I get the sleeve in. Luckily, we have two fucking shirts. So did Gareth have to use two shirts? Actually, yeah, yeah. Thanks for that, Thibaut, yeah. Because actors are all fucking slim and shit and get to wear skinny jeans all the time and these small tight shirts. Meanwhile, I'm there, you know, usually in a... in a sort of, I don't know what the fuck I was going to say. In a crouching position, eating fucking fries. All right, here's our lovely, what's her name, man? Anyway, she's fucking talented. Yeah. That's my point. Like, the goal here actually was our, this is probably our only really sort of, you know, genuine sort of, like, traditional horror scare moment, really. I think the entire film, like, jump scares and everything. Because everything else we did then was kind of more like, you know, more brutal and in your face and sort of, you know, more about the overwhelming mood and tone and atmosphere, whereas this was more, you know, back to that sort of, yeah, the jump scare sort of approach. Silent but deadly. Silent but deadly, yeah. But I think this also works as the catalyst of the fucked up things to come. And also, for me, it's like it's one of those things where it's not just like a jump scare thrown in for the purposes of making the audience kind of shriek, but it's It's also something that kind of establishes how fucking the cult is, but not only that, but it's almost like a premonition of what's going to happen to Lena later on. Actually, a lot of people were asking, like, who the fuck is that person? And to answer the question, exactly, she is indeed one of Father's failed sort of birthing process subject, you know? While Gareth was shooting that whole vagina girl thing, I'm shooting this this scene here and that camera is actually an effect shot because that camera is actually belong to Gareth and said Don't fucking drop my camera. Okay, so we end up we end up pasting Well pasting an effect over there in in in all fairness that camera cost shitloads. All right, so yeah Yeah, so you weren't dropping it on the floor. We actually I still did drop it on the floor. Yeah, but I It's alright. Is it alright? I don't know. I haven't tried it since. You should talk about how amazing the effect was then. Right, right. So this is actually a very simple effect. All we did is actually stick a fucking GoPro on the floor and have me and the other two crew squirting fucking blood all over Eppie and simulate the movement of the dying Johnny. And it's all Eppie's magic here. I love this. We got really lucky here because the blood streaked across the lens of the GoPro. So there, when Epi kind of stretches out, it stretches his body. It kind of distorts his body. It makes him look fucking muscular. It makes him look like he's completely in control of this and that he's the fucking king. But he's actually such a small little character. Yeah. He was actually in great pain there, man. Because the blood actually went into his fucking eyes. And, you know, the blood is so sticky and concentrated. It all sort of... mixture of every fucking shit that we can think of but he's a trooper so uh... this is pretty much where everything just starts to really really kick off now uh... once johnny's being killed it's like it's non-stop so we kind of wanted to have this feeling of like the first you know ten minutes or so of the movie was all about the build up was all about like establishing the characters and the situations and the love triangle and you know, what this cult is about, and sort of hinting at the horror which is about to emerge. But now that Johnny's dead, now that we've kind of reached that point, and then Elena gets kidnapped, from here on out, it's just, like, breakneck. We never stop moving, we never stop running, we never stop sort of, like, assaulting the audience, like, every single step of the way, like, every corner, every door, there's something there, like, which is kind of, you know, going to hit you in the face then. So, yeah, we... We want to show a disturbing image, but we don't want to go crossing the line where we see kids literally getting killed and all that stuff, so we opted for a more subtle choice of suicide, yeah? Yeah, yeah. Well, okay, here's... This is nice here, because the thing is Oka is actually... Operating the camera. Operating the camera, yeah. And this is all a fact shot, obviously. Yeah, this took ages to get. It's the timing to get all of them to fall at the same time. These guys are like extras who didn't know what the fuck is going on in this fucking shoot. They thought they were supposed to be posing like fucking boy bands here. Yeah, they had no idea what the story was. They had no idea what the film was about. They had no idea what they were about to do. They came with, like, Brylcreem in their hair and moisturizer on their face. And then suddenly me and Timo are lining them up and then ruffling their hair, messing them up. Later on in the movie, just hurling blood at them. They feel raped, quite to say. Okay, that's a dummy. Obviously. Yeah, obviously. we actually made a switch while we point the camera upwards. Yeah, we did this a lot. I mean, there's a lot of this in this film, like even when it's supposed to be like one continuous shot like that, we put a lot of edits in there. There's about like this whole section from running into the room up until now, there's probably around about like four edits, I think, in total in that sequence. Four to five different cuts. Yeah, because like certain things will go right sometimes and, you know, all it takes really is for like one performer to kind of like mess up a little bit. And then suddenly you have to find, okay, where can I cut in again? Where can we go again for another take? And because we were up against it in terms of time, we didn't want to have to do the entire thing all over again. So we would look for these little moments because of the camera, because of the fact that it's moving around so much and because of the fact that it's not like a high quality camera so much. It means that there's lots of opportunities for motion blur. And that means that I can kind of, in the edit, then find an opportunity to kind of cut between the blur and pick the best takes. Gareth, man, I've got to say, is a master of fucking joining two different cuts together and presenting it as if it's one continuous cut. He even fucking do three or four fucking different cuts. And also to say, like, you fucking edit this film, right? Yeah. Fucking hell, man. Shut up. All right, so this scene... Oka finally snuffed it and I gotta say fucking Fahri did a fucking perfect job here like he like he it's very hard you know like to be in this moment where you know your friend is dying and all that shit and all this mixed fucking emotion of him betraying his friend and at the same time not being able to fucking express that and being defenseless yeah exactly that last shot sorry then the gaggle of the fucking nurses dragging her on is one of my favorite shots we were both like inspired by this whole Kubrickian sort of madness. Yeah, it was kind of like we wanted this kind of carnival atmosphere for this part. You know, this whole idea. I mean, it is kind of borderline Wicker Man almost as well. Yeah, it is. In terms of like the... You can totally imagine if they're fucking British. Yeah. Epi is basically the Christopher Lee of Indonesia. Exactly. But yeah, I mean, for me, it was this thing of like, we wanted this kind of sense of just chaos and, you know, this horrible... like you know madness to it and having those like four nurses just like you know staring right into the lens screaming and laughing and as they're carrying Lena to this like birthing chamber that was like the most horrifying image that I'd seen in the rushes when we were shooting it doesn't need to make sense though right it's just the whole it's feel it's atmosphere it's atmosphere and sort of tension the moment you start to look for like logic in these types of things that's when it kind of has a that's when you have too much time yeah I talk about the spider woman this was your concept right yeah actually a lot of people ask like who is she like well it's it's just one of those cult member man like I mean the whole concept is to have this kind of complete chaos of what's it whatever happens in there and this is actually I mean her her presence is actually that the start of that turning point where the world starts to turn upside down and as well exactly okay the original idea for this when I wrote it I actually wrote it that the character father is like fucking totally naked so we see his fucking cock dangling around like but i think uh in all fairness me and gareth we both pussied out on that day we did pussy on it but i think i mean at the end of the day though i mean a large part of that is down to the fact that i i have no doubt in my mind that epi would have done that for us because he's that kind of guy you would go for it you you wouldn't be shy about it but i think from like our side of things and from his side of things our responsibility to him as well we can get away with doing some things here in indonesia but the repercussions might have been a bit too great just for us to be able to you know yep get to see his coffin it wouldn't be good for his career in the long run exactly exactly so uh we we kind of held back at that and just thought like a pair of you know white grease with covered in blood i thought that was a napkin man okay so this is the cool part here because All the blood here is actually digital, yeah? Yeah, yeah, yeah. Most of the blood is spurting. All the spurting blood is digital. And actually, we should give credit to Andy, our online guy, who's worked with me on The Raid and Miranda, and now we're on Miranda, and worked with you on Killers, and then also on this, right? And ABC's Death? He did Death here as well. Yeah, he helped me a lot there. So he's become our go-to guy for online effects, and he helps kind of like, you know, tweak whatever we can't do in the practical, in terms of practical make-up effects. If it just absolutely isn't possible, then he will step in and kind of fill that space for us. Like this. You want to talk about some of the practical effects then? Yeah, yeah. Okay, so for instance in this scene, right, it's actually a combination of a hollowed-out table And that's a combination of a Hannah dummy and the table itself. So there's a lot of fucking screen cropping over there. Yeah, actually, me and you, both on separate shots, actually operated the head of the demon, right? We were both at different points, sat under the table, wriggling his head around to push it through the stomach there. And this is our online supervisor, David, man. Yeah, Dave, our VFX guy. He used to be a cage fighter, so he had a fucking decent build in order to be the demon coming out of the stomach. And then later on in the wider shotzen, it's another actor playing the role of the demon. Minkoo Kim. Six foot seven, Korean boy. Basketball player, right? Basketball player, yeah. It's fucking huge. Anyway, that's Johnny. Undead Johnny, actually. We gave... I think this whole section here, this whole escape... was a massive headache for Geeta, our AD, and then Sari, our makeup department. Because we basically just threw... Originally in the script, we had nothing planned for it. It was just a straight run out the building and just the presence of the demon in the background. And then all of a sudden, we started changing our minds and saying, we want Johnny to be reanimated as Corpse. We want a school classroom full of kids, zombies. Zombie kids. We want a guy having his head ripped off and then a couple... That's entirely Garrett's idea there. Like, I mean, he enjoys that kind of doggy style. All right, so... Thank you for that. Thank you for that. Dude, like, you have to talk about this, man. Like, this is amazing. Like, you actually comprise the shots of different locations. This whole chase out of the building is about three different locations. So just after the scene where we saw the couple fucking, there's a brief moment where the camera kind of, like, glides along a wall and then that transitioned into another location then. And we got very lucky with like a cross dissolve where we got to kind of switch from one location to the next and then making it feel quite seamless into the basement of this building. And throughout this section here, later on, once we sort of run up the stairs, there's a quick turnaround of the camera. That's already in another location. No, this is the same location. Now we're in the new location right here. And now we're running out to the door of the house that we used for the exterior and then going into the car. Yeah, and then this whole section here when he rips open the... Yeah, there's a cut there. Cut there. And then... Another cut here, right? Cut here. There you go. This fucking camera is amazing, man. This button camera. Yeah, this camera. It's great, right? It withstands everything. Actually, we talked on a technical level for a second or two. We used a Sony NEX-7. which is a small sort of handy camera. It's actually a stills camera, but it records HD. And what you can't see here is right on the right-hand side of the screen, we have Gary, our fearless AD, in that car as he's speeding down the way, holding the camera on the dashboard with no seatbelt, not in the seat at all. just praying that Fahri doesn't crash the car. Fahri's a fucking daredevil when it comes to driving. Remember that time when you were fucking pissed off at him? Yeah, I was pissed. I was pissed. And fuck that, I had every right to be pissed. Well, we were shooting that drive down the street and we had to control the location because, you know, in that area, it's a studio area, but it's pretty much open to public, right? So there's always, like, kids around. There's always, you know, people running around and stuff like that. And the amount of times I'd seen kids crossing in our path of where we were going to take that car... And so then, you know, every time we went for a take, it was like, stop now, and then we check, and then we can go again. But on one occasion, he decided to do a second take without stopping, and then when he came back... He decided to play the cowboy. Yeah, and then I had to play angry dad then on set. Okay, so this scene is actually totally improvised by us on that day, right? Yeah, literally about like 10 minutes or something before we were to lose sunlight. We were actually panicking because... We don't have any fucking sunlight left and the scene that we originally wanted to do didn't work out. Yeah, we had a bigger plan for the car crash that we just could not do. Yeah, and so we told Fahri, Fahri, you've got to fucking cry in front of the camera because you realize this fucking demon is in a way your own seed. And he was panicking as shit, you know, like he doesn't know what to do. But in a way, that sort of becomes our advantage because this is actually him being really scared shitless of... of the pressure of not being able to perform in a way. Exactly, yeah. And I think what helped us a lot was the fact that originally he was supposed to die, his character was supposed to die. Supposed to get crushed by the car. And in the end, the whole thing of the insanity, the laughter and the chaos, and then him being called Papa, that was all a last-minute thing. really glad that we managed to get that at the end so this is his real snot by the way yeah no CG wow that was really an entertaining segment I really enjoyed that yeah so I'm assuming that Gareth and Timo are really funny and informative again yeah and you're like that's my favorite segment and I hate all this bullshit that's coming on now here's Adam and Simon now here we are just like wasting your time and you can fast forward to Jason what is undoubtedly going to be very entertaining. I am sure that Jason has something really great cooked up for you guys. I don't know what it is. It's either just going to be... He's just going to do something clever. I just know Jason. So I want to say, originally this scene, he was supposed to come in and she'd hanged herself with a coaxial cable, or she'd actually been hanged by Collins, but he thinks she's killed herself because she has problems. So we built this hanging rig, and it took all day because my main special effects guys couldn't make it to set. And it was totally unstable and scary. And they're like, well, you could hang Kelsey Abbott from this, but there's a really good chance that she actually will, you know, die. And I was kinda like, hmm. And we just lost like an entire day setting up. And I was like, well, All right, maybe she just shoots herself in the head. And yeah, all right. And so the idea is that he's making him watch the tapes in a certain sequence, not to affect him, but to affect now her corpse. Yeah, and he's also so bored of her death already that he's already putting in a videotape. Maybe I'll watch some Jason Eisner short and have a good time. I need to take my mind off of this dead girlfriend of mine.

Hi, my name is Jason Eisner and I'm the director of Slumber Party Alien Abduction and we just ate a couple ice cream sandwiches and we're ready to go and I'm here with Rob Cotterill, the producer of the segment. And John Davies, the writer of the segment. This here is the first shot that we shot for the segment and it was probably one of the more difficult shots to do just because we were trying to get our bearings together and figure out how to work within this found footage. And the toughest part here was probably because the kids have hot dogs dangling from their costumes. Every time the kids would, after a take, would basically drop their costumes and the hot dogs would be laying on the pavement. And our dog, Riley, would just run out and he would start eating the hot dogs. And by the time we finished the scene, I think he ate probably five or six hot dogs, which just made the crew completely sick. Yeah, and the hot dogs were what we were intending to use to entice Riley to do stuff for us. And after the first scene, he got sick of them. As you can see, his excitement about the hot dog trying to skateboard, isn't that great? Yeah, my dad spent a long time training Riley to ride a skateboard. And this shot took probably the most takes. It was probably close to like 30 takes to do. And you can see Riley just has no interest in us anymore. And he's got this full of hot dogs. This segment and the next few segments were really inspired by a lot of the antics me and Jason did growing up. Remember we used to just go to his house after school and anybody was free and just go to his shed and take out whatever crazy water guns and water balloons and we'd just rampage whoever. We'd throw them up in the backyard, throw them at his cousins who lived next door. Sometimes I remember we'd sit up on his roof at night with water balloons and just call people over and whip water balloons at them from the roof of his house. I never made the cut. Would you do what he's doing here and fill stuff up with your piss? Secrets. Those are dark secrets. But these kids are so much fun to work with. They've never really had a chance to act in film before, and so we just did our best to try and find kids that... that reminded us of ourselves and our friends when we were growing up. This shot here with that alien underwater was quite difficult to do. It was kind of sketchy because in order to like weigh the alien down so he wouldn't float to the surface, I just like went out, put a brick underwater and let my friend just kind of like hang onto it with his foot. This is one of the better scenes here too, I think, which was just the kids. They really wanted to get in a cage and terrorize Josh. So he said, go for it, swear a lot, Let all those swears out that your parents won't let you do at home. And that shark that was in that kid's hand, that was a toy that I've had since I was a kid, and I probably hit you with it a lot, John. I think you hit everybody. The first time someone goes to Jason's house, you'd hit them with the shark and say, that hurts, doesn't it? I want to know how you found that out. This scene here is like a direct shot-for-shot remake of something that we used to do to my... my sister growing up. We would basically wait till 3 a.m. in the morning. It was usually during a time when my parents were gone away, and my sister would be studying for exams, and we would come bursting into her room with a stereo and a bunch of my parents' Christmas and Halloween decorations, and we would just jump around and drive her crazy. The way this scene ends doesn't quite end the way it did in real life. In real life, My sister grabbed the CD player and she pulled the CD out with her hand and she just crushed the CD with one hand with so much anger. She was so pissed off at us. I can remember one time we did these two and Jen was having a sleepover and she was so mad. Her and her friends all got water guns and they were going to shoot us. So we set up a security alarm outside of Jason's room to alert all of us whenever she was coming. This moment here is kind of inspired by a local legend here. There's a harbor in Nova Scotia called Shag Harbor. We're in the 60s. supposedly a ufo had crashed and uh landed in the middle of the harbor and a bunch of the locals saw it and i remember when i was a kid i uh i asked my uncle who was working in the navy at the time about it because i was like super interested in ufos and aliens and uh he told me this crazy story about how uh what he had heard had happened is that uh a ufo had crashed and Uh, it was underwater and, uh, the Navy were out like in boats, uh, surveying it for a couple of days. And what ended up happening was another UFO came up through like the Gulf of Mexico, like underwater and it came into the Harbor and linked up with this UFO. And, uh, for a couple of days they were joined together. And then, uh, after I guess that UFO was repaired, they both took out like out of the Harbor underwater and then surface and, uh, and flew away. And so that kind of always piqued my interest in this idea that, like, aliens could, like, be underwater. And I really liked that idea and, like, wanted to play with something like that. And if you look at the TV here, it's hard to see in the movie, but there's a porno playing where there's some girls wiping chips off on each other in a really sensual way. Drinking chip dip there. She's dipping a chip into her friend's mouth. That's kind of based off a fantasy porn idea I had called Chipped Off the Old Cock. which is about two people having beautiful love and involving hundreds and hundreds of bags of chips. And even though you only see it for three seconds, Rob had the pleasure of shooting that scene. Yeah, in my basement. It was awesome. We needed some porn, and it was too expensive to buy, so I volunteered to make it. We used John's idea to inspire the... The pornography that we made. Yeah, so there's, I guess, a 12-minute version of that that you only see for three seconds. We overshot it, I guess you could say. I took a card from Jason Eisner and way overshot it. One funny thing there, too, is the kids or the sister and her boyfriend are saying, basically... masturbating in so many different ways. And I remember like asking Davies, like, we need to come up with more ways for these kids to reference masturbating, which has caused you to have to like just sit in the corner and like ask everyone that came by. Jeremy came up with a few. I came up with a few. I had to remember some from my dark past, but it's all right. I forgot them again. This moment here, actually, like from that point where Jen's character grabs the flashlight. We had this smoke basically outside covering the windows because the sun was coming up and we were trying to hide the fact that the sun was coming. It was basically daylight. It was daylight and we used the smoke to conceal the fact. And we used an obnoxious amount of cans of smoke with our foggers that we had. And what ended up happening is it set the fire alarm off, which is like there's an alarm on the outside of that home that's like an air raid siren. And so it was like basically like at 5 a.m. till like 7 a.m. that thing was blasting. And so we had to basically like ADR all those lines and just kind of, you know, try our best to ignore it. That sleeping bag scene is probably one of my, like, favorite moments from the movie. That scene was, like, one of the first things that we came up with that, like, we started, like, building the segment around. And it was, the way we did it is that we had one of those, like, kiddie pools, those rubber kiddie pools, and we filled it up, put it in the front yard, and we just, like, it was me and the kid inside the sleeping bag, maybe a foot and a half of water. And I had, like, all my friends and the kid's dad were helping outside of the sleeping bag and to keep us, like, submerged. And actually someone called the police because they could just hear Ryland screaming for help. And the police came down and they came upon a scene of, like, six guys holding a kid. A 10-year-old. Yeah, a 10-year-old in a sleeping bag underwater. And at first it was like really sketchy, like we were trying our best to kind of like explain as to what we were doing. But it just so happened that that police officer's son plays baseball with Rylan. He recognized him immediately and all was good and we got out of that sketchy situation. The worst part was we thought he was the pizza man. The pizza took a little longer. This scene here was tough, too, just because it was at around 4, 4.30. You can start to see the sun coming up back there, and it was hard to get Ryland to go in the water just because it was super late, he was super tired, he was playing baseball tournaments at that time. He was freezing. And he was freezing, and it was so cold. Thank God he braved it for us. And that moment where they find him in the water, I just told him, like, give me one take, and I promise that will be it. And he was a trooper, and he did it, and we got it in one take, which was... You made him do it again. Let's be real. No, I didn't have to make it. He did it twice. No, you didn't have to do it. I got him up to the dock, and then I got a cut, and then he didn't have to be in the water anymore. I seem to remember him doing it twice. Rob's a liar. Yeah, you're a liar. This scene was, again, really tough. This movie was probably the biggest challenge we've ever had, because you're locked into this one wide-angle perspective, and right here there's all these lighting cues, and we would have to communicate back and forth with our grips and gaffers, and also try to get all this timing right. And not see us, because, you know, we basically have to hang beside Jason, get the cues right, and... If one cue screwed up, we'd have to do the whole take again. A lot of these shots are just one take. Yeah. And the hard part, too, is that this is like what you're seeing now is an elf doll that we gutted out. I don't know if you guys remember Elf, the TV show. But I always thought our family dog looked like Elf. And we just so happened to have an Elf doll. And I got my friend Sherry to hollow it out and turn it into a puppet. And so, but what ended up happening is it caused for me to have to like crawl on all fours. So here I'm just booking it. I'm sprinting on all fours, uh, across this field to try and catch up to, uh, to Cohen and these aliens. Uh, also to that, uh, the idea of the, the, the police sirens going off, that was something that, uh, I sent the script to my buddy, uh, black magic rollercoaster. And, uh, He really loved the idea of kids playing pranks, and he thought that it might be really fun if the aliens play a prank on the kids. And so we thought of the idea of maybe the aliens are pretending to be the police and lure the kids towards them. But I guess to go into more of the inspirations of this movie, for me as a kid, I saw Fire in the Sky when I was young, and it It screwed up my life for a couple of years and caused me to keep a baseball bat under the bed. But also got me really fascinating and studying aliens and UFOs and alien abductions. And so I wanted to kind of like play something off of like my own childhood nightmares. And this is kind of like something that like the feeling of this is like those nightmares I had as a kid is that aliens are coming. I don't know why they picked me and I don't know. what reason and they're trying to get me and my friends and we just gotta run and there's no time to think or talk you just gotta go don't get away from the mail you just gotta get away from them or you could just embrace them avoid all this problem so coming up is the ending of the film which is our burning the school bus scene that we had in vhs2 And basically, there's a lot of concern and controversy about this particular ending that a lot of discussion was having. Yeah, and I can see why. Audiences, I can see some love it, some hate it. I totally understand why. While I was editing this thing, I had to watch that shot like a hundred times and watch my dog die, which I could even, you know, it brought tears to my eyes at times. So I totally understand that. But we felt that Tank is a hero and we wanted to give Tank... a hero's ending, and it's a horror film, and we wanted you guys to leave the screening feeling something. And so hopefully it made you want to hug onto your pet a little tighter that night. I know Riley loves you guys, loves the fans. You know, write him fan mail. He'll be super excited. I hope you guys enjoyed the movie. And take care. Hug your pets. Goodbye. What a sad ending. Man. Man, that was a bummer. Yeah, well, you know, there was a lot of debate, remember, going into this, like, if it was too, like, silly that Larry looked so depressed that the dog died or not, you know? It seems to work fine for the tone of the film. And, you know, and, like, yeah, and we actually... You know, we tested this film with the shorts in different orders just to make sure that this was the right order, which we were pretty sure it was, and it definitely didn't play as well if you didn't juxtapose those two moments. So yeah, so basically... I'm sure Jason was really funny, and now we're back. Yeah, I mean, congratulations for making it this far, like three of you who are watching this. Actually, does anybody even listen to commentaries? Does anybody buy the Blu-rays anymore? I don't know. I don't know. So that special effect, by the way, looked really great until I ran it through the frame drop program to make it look like a streaming webcam. I think it still looks great. I still think it looks cool. You know, that's like, I don't know how you say it, gif, jif, whatever. I've seen the most of those from this film of that moment right there. I just saw a new one this morning, so you should be very proud. And depending on which version of the film you're watching, I guess there would be an R-rated DVD, but this is one of the moments that got us an NC-17. Most of them are from Safe Haven, but notably they did not want us to cut out Simon's penis, which is featured at least three times in the film, if you count the end credits. Simon's penis was not offensive enough. Nope. To get an NC-17. They said, oh, no, if that was the movie's thing, it could get a PG. Yeah. And we were like, oh, okay. That was it. I mean, like, Simon's penis, yeah, non-offensive. So, anyways. So, yeah. So what's going on here again? She's a zombie. Yeah, watching the tapes and the sequences. Is it still a prequel? Is it still a prequel? It's still a prequel. It's still a prequel to Take 56 right now. Okay. So this, when she starts crawling here in a second, this was another thing that we tried to do practically, but it didn't quite work out. There's like a split shot of Kelsey actually wearing the fake head, but that's like a digital comp right there, and her head's actually rotating as she crawls. You can kind of barely see it, but it's actually rotating forward. This is actually my bedroom in like my real life, and in fact, it still looks kind of awful because I still haven't totally fixed it since we shot in it a year ago. And I think Collins is actually still in your closet right now with that makeup on. Waiting for us to wrap him. Yeah, no, my bedroom just has a really big kind of perfect closet for this set piece, so we just cheated the two locations. Whenever he goes into the bedroom, he's entering my bedroom and leaving that location. So, yeah. Yeah, yeah. Yeah, yeah. Did we mention that all this button cam footage is actually, like, the 5D and it's VHS tape? Did we say that? Yeah, I covered that. Man, I was fucking spacing out. You're talking too fast. I can't keep up. I ran it through VHS. Well, this next part, we actually, like, we had a lot of fun. Well, I don't know if it was fun, but we spent some time trying to get these, like, actual VHS glitches and stuff in here. Yeah, we were actually just fucking with the tracking on, like, my old VCR to do this stuff. It just looks beautiful. I mean, and it really... You know, I almost just wish this whole movie was done looking like this, honestly. Look how good that effect looks right here. That's a digital tongue, too, by the way. Yeah, the tongue's digital in that shot, because it couldn't get it to move. I just want to say that I'm very proud of this in-credit sequence. We had no time to do an in-credit sequence, because we wanted to work with the best set again, and we wanted them to write a song. I was actually editing all this stuff together while we were on the sound stage, remember? Yeah. The mix stage. And all these credits are actually just final cut credits, and then we would record them and onto tape, and then we would rewind the tape when we were recording it back in, so they had that kind of fucked up look. But it looks great. I mean, I'm really happy with the way this turned out. Excuse me. I'm sorry, I just had to toot my own horn here, because I'm so proud of this ending. I'm more proud of this ending than I am of my entire segment, I think. Yeah, I just think it's really cool that we got the death set, and they did it for no money, to write a song for the film. Oh, because we really loved that song. You know, we're big fans. We really loved how they come to get us. Yeah, I was wondering, like, if they were going to be able to do a song, you know, because since it was specifically made for the film, we had no idea what we were going to get. I was actually curious, like, are we going to get something that really has that same... Because they come to get us, and the first film has the perfect energy, you know, for the end credits. But, I mean, they came through. Yeah, I love this track. I wonder if, you know, I don't know how you... I think... Just record it off of this. Just get your phone out and, like, fuck it. Yeah, I don't know what the ultimate contracts were between them and the collective to, you know, I don't know if we can release this song or if they can release it or what. I just always thought it was funny when I was editing this to just keep trying to, like, see how many times I could sneak Simon's penis into the intro. So it's in here quite a bit. And then was there anything else? There's still one more left. Let's wait for it. Let's give this its time. Boom. Yeah, there it is. One of the last images from the film is a guy exploding in your penis. Yep, yep. And that about sums up our artistic goals with this project. So thank you very much if you've been watching and listening to us. Thank you and we're sorry and all those things. Be sure to go on the internet and tell us how much you hate us. Yeah, I mean... So it feels weird that it would be just you and me talking over the end credits since... Yeah, is anyone else talking right now? Maybe Magnolia will just like... you know, have all the filmmakers talking at once. It'll just be really confusing. But like, but if you're on acid, it'll be awesome. And you'll be like, or are the producers, the other producers going to do a track over the credits or something? I don't know. That would be, maybe this is where Brad just comes in for like two minutes and like, uh, just like really quick. Yeah. Brad should just like complain about like things that like annoy him for like two minutes, like leaf blowers and stuff. Yeah. The service at like Chili's. Yeah. Um, yeah, no, I don't know if we're, supposed to be talking now or if someone else is. We're a little low energy because we spent so much time last night getting really drunk to do the drunk commentary, which, you know, I don't... Which we did four times. I think we mentioned that, but I just want to emphasize that, like, I am really sick of doing this fucking commentary. We stopped drinking after the second time to try to sober up so that we could speak without our voices slurring so much that they were unintelligible. I mean, we really... got drunk. I think we're going to put it online at some point, just because I feel like we have to. I'm feeling a little rough today, to be honest. I woke up feeling like total shit. Yeah, I don't get that drunk. I didn't feel sick. I just felt really tired. I think I just sat on my couch for 45 minutes when I got home, and I think I was half asleep, just staring at the wall. I was actually passing out during our commentary. As soon as you left, I just crawled into bed and woke up like, eight hours later feeling horrible. Um, yeah. Why do we always end up doing our commentaries when we're already fucking exhausted? That's what the ABC's of Death one was, too. Oh, yeah, I was completely exhausted. Yeah, no, well, you know, I just don't know. I mean, we, you know, we try things. We're usually, you know, fun. Fun, funny people. Clever, even, maybe. You could consider that. But you would never know it by any evidence out there. There's no evidence of us being funny people. Our interviews are always done the morning after our midnight screening, so we're always exhausted and hungover. Basically, you'll never know how charming we are. Because if you just go by these commentaries, obviously, we're intolerable. Just a bunch of depressing dudes. I wonder if it's too late to ask Jason to do our commentary for us. I mean, I think that what's going to end up happening is Magnolia's going to listen to this shit, and they're going to be like, this is garbage, and then just going to replay Jason's commentary over every time that we do it. Because I... I mean, I don't know. I mean, like, I could be surprised, but I think that Jason's going to have the best commentary. Well, I don't know. I don't know Timo very well, but he seems like a crazy guy. He might be saying some crazy shit that's pretty fun. I don't know. But Jason... But it's definitely not us. Yeah. It's not us. It's not us. So... I guess we'll see whenever we watch this back. Yeah, yeah. All right, VHS 2. VHS 2, yeah. There it is. We did it. 666.